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Superimposing
belief systems on faith in God undermines the very nature of
spirituality and carries the consequences we encounter today
— religious factions and dogmatic rules. Such is the basis
of writer/director Kevin Smith's Dogma,
a celebration of spirituality and, at the same time, a profane
and funny poke at the Catholic Church. Smith extends the thematic
premise further in the film's innovative presentation: minimal
structure ordering his ideas. Dogma's
story sprawls and trails but a Dramatica grand argument story
can be interpreted from its chaotic storyweaving.
Main character Bethany
(in curiously, the only unnatural performance of the piece)
is chosen to halt two fallen angels on a mission to undermine
God. The Lord is, as ever, the steadfast impact character
— invisible yet implacable. Bethany's doubting Thomas
demeanor (attitude) inhibits the main versus impact story
— her disbelief (main character vs. impact character
problem) in the Deity is observed in the overall characters
as well, followers experiencing some crisis of faith (overall
story solution). Bethany's pilgrimage ends in success (outcome)
— existence, sacred and otherwise, remains as is (goal-obtaining).
In the (female-yes!) face of God, Bethany stands in awe (main
character resolve-change), boxers and handstands (impact character
critical flaw-preconception) notwithstanding — her faith
(main character solution) in God's infinite power renewed
(main character judgment-good).
With Dogma,
Kevin Smith, a blasphemous good Catholic boy (are there any
other kind?), gives us another reason to believe in the Almighty
and divine filmmaking, and that a Dramatica grand argument
story can be as neoteric as original sin.
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